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By William Shakespeare, Liang Shiqiu

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Extra resources for Love's Labour's Lost (The Complete Shakespeare Translated by Liang Shiqiu, Book 7) (Bilingual Edition)

Example text

After the orchestra is the altar of Dionysos, which is calledthe Thymele [the following diagram is included in the text] : W H E R EW A ST H EA L T A R ? 45 beside this a person sacrifices, and after the “seat,” the arena [literally, “place of dust”], which is below the ground floor of the theatre. Also scenic, which is upon the stage. g Vitruvius makesno mention at all of any altar in his writings on either the Greek or Roman theatre. Such an omission has no particular significance; Vitruvius alsoomits mention of prohedriu, the stone seats of honor that were surely present in the theatres of his time.

On this stone, the date of 534 BCE is recorded as the first known instance of a tragic contest in Athens, with Thespis as the victor. However, the inscription was not cut until 264-263 BCE, some 270 years after these fabled events. Currently, a cloud of very reasonable doubt swirls around the date of 534,one which had hitherto been enshrined among the very few fixed points in the ever-evolving study of Greek theatre. Rush Rehm writesthat “based upon a probable misreading of an inscription on a marble slab calledthe Marmor Parium .

There is little evidence of round dancing in Classical times. Vase paintings usually picture dancers in-line, oftenwith hands linked, typically following a god, a priest, or a flutist. If contemporary folk patterns are to be evoked in determining the dances of the past, it should be noted that present-day Greek dance is serpentine, not circular; a leading dancer guides followers through various seeminglyrandom patterns, much like the figures on the vases. Line dancing does not fit into a circular arena.

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